City Paper is not for tourists
Writer-director Max Currie’s Everything We Loved is riddled with emotional pain. There’s death and the attendant grief, a missing child, suicidal depression, a broken marriage, money woes, and the burden of living with a situation you know is wrong but that you cling to, while constantly looking over your shoulder. The beginning of this engaging drama is tinged with mystery, as we see a young father dealing with an obstinate toddler named Tommy. But Tommy calls him “Charlie,” and Charlie, who’s a struggling magician, tells Tommy that his mother’s dead—but that the pretty lady painted on the company van will be his new mommy. Where is she now? And who’s Hugo, whose name appears throughout the home? The film is quiet and leisurely but never dull, and Currie slips lightning-quick backstory details such as “IVF” into conversation to deepen the anguish that’s already evident. It tells of the lengths desperate people will go to when every waking moment feels like drowning.